Tagged with “star wars”
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As a new “Star Wars” movie nears its release, we turn our attention to some of our least favorite features of this franchise we love. Our panelists draft our least favorite Special Edition changes, retcons, Original Trilogy and “Force Awakens” elements, and more. Plus we each pitch a new “Star Wars” movie that can right a wrong in the existing canon.

It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire … Before those words crawled up movie screens in May 1977, what did people think the future was going to look like? What did pop culture sound like on the eve of Star Wars? With Kurt Andersen, Annalee Newitz, Alyssa Rosenberg, and Chris Taylor. This is part I of a V part series.

There’s a big old spoiler alert hanging over this whole radio show. You’ve been warned!

We’re beginning 2016 by confronting what is already its biggest cultural phenomenon. The Force Awakens, the latest installment of Star Wars, on track to make $3 billion and more around the world.

What does it mean that this particular, high-capital story survives as a global dream? And maybe the most familiar alternate universe ever created outside a world religion: a Greek pantheon for the modern day?

Star Wars is full of paradoxes: it’s profoundly flat; imperial filmmaking in celebration of rebels and saboteurs; a forty-year-old hit that remains forever young. The essayist Chuck Klosterman proposes to nationalize Star Wars, turning the franchise into a lucrative public works project for the nation’s out-of-work actors, set dressers, and engineers. (It’s “the only thing America does that everybody likes.”) And our guest Amanda Palmer tells us it was a geek movie that never seemed that geeky, as well as a violent movie that never seemed that violent. In the end, George Lucas‘s creation must have approval numbers that popes and politicians could only dream of.

Why does Star Wars still mean so much to so many? With a group of our favorite people, we’re counting the ways (with special thanks to Eric Molinsky, host and producer of Imaginary Worlds, who did a five-part series on the cultural significance on the franchise — listen here):

It’s a postmodern myth.

There’s a moment in the original Star Wars, when Luke Skywalker, played by Mark Hamill, looks out at the horizon as dusty Tatooine’s two suns set.

There are no words, but John Williams’s score is working overtime, sounding the note of potential energy: a young person with gifts and a great destiny who’s still just wishing he were anywhere but here. Almost anyone can imagine himself standing on that bluff and watching the sun(s) go down.

Watch that scene (you have permission to find it corny!) But it’s also got the mystery of Star Wars’s eternal appeal packed into just 36 seconds: another orchestrated, saturated, uncanny image for all time, conjuring not just before — Achilles, Lancelot, and Dante — but after: Spider-Man, the X-Men, Harry Potter, Katniss Everdeen and most recently, Rey, the Skywalker stand-in for the latest film.

It’s (almost) a silent film.Speaking of which, George Lucas always put a lot of stock in the power of Star Wars‘s score and images to get along on their own. So in 1977, he anticipated the globalizing trend that’d hit Hollywood decades later — a move away from repartee and puns and into a world of spectacle and SFX. Watch Star Wars work like a silent film in the famous throne-room finale, in the last scene of the new movie, and in that “I am your father” confrontation:

It’s a theology for the post-religious — and a political shorthand.

Yes, there are thousands of people all over the world to check “Jedi Knight” on census forms just to scramble the religious picture of the 21st century. And “The Dark Side” has become a shorthand in politics to be embraced by Dick Cheney and shunned by Larry Lucchino, the outgoing Red Sox president who once labeled the Yankees “The Evil Empire.”

But there’s something a little deeper and more peculiar in the vague cosmology of “The Force” put forward in the movies: a balance between emotional attachments and inner peace, between individualism and teamwork, between self-interest and philanthropy, that speaks to the unique spiritual drift of the 20th-century consumer.

It’s a product of the depressed ‘70s — but it still works the same way.

Alan Andres reminds us that those first movies opened during American doldrum days, with bad news everywhere in the ether: the Fall of Saigon, Watergate, the fall of Skylab, the Church Committee, Chappaquiddick, and the Iran hostage crisis. The tone of sci-fi was suitably dark: Soylent Green is people! We were a rebel nation that had come to seem like an evil empire (until Reagan came along and declared that the Soviets were the real imperial enemy).

It may be true that, more than anything, George Lucas wanted to offer a generation of young Americans a different, optimistic story with a batch of good role models in tow. But still he had The Emperor — the bad guy of all Star Wars bad guys — sit in an oval-shaped throne room: Nixon, determined to crush the latest guerrilla uprising.

It’s militaristic.

Somehow, underneath the swashbuckling escapes and screwball dialogue, people forget that in Star Wars, the viewer really can’t root for anyone who doesn’t commit mass murder.

The Empire blows up Alderaan with a weapon known as the Death Star in order to quash organized resistance. But then the heroic Rebels blow up the planet-sized Death Star — along with, it is estimated (!), 843,342 souls in the crew and staff — to stick it to the Empire.

And that’s just a start! Tell us what Star Wars means to you (and may the Force be with you all in 2016)!

Serenity Caldwell returns to the show. Topics include the new 9.7-inch iPad Pro, using an iPad for “work”, podcasting microphones, the damn Siri Remote for the new Apple TV, the Star Wars: Rogue One teaser, and more.

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Helen Macdonald has made her name writing about nature and birds of prey. So why has she become so fascinated with the recent Star Wars movie that she’s been to see it six times? In her first "A Point of View" she tries to get to the bottom of her obsession and wonders whether it’s all down to nostalgia or something else.

Much of what you saw in Star Wars: The Force Awakens was done in camera… and a lot wasn’t. Meet Roger Guyett (VFX Supervisor) and Patrick Tubach (VFX Supervisor), who headed the digital team on this film at Industriual Light & Magic. They talk to David Poland about bringing this landmark series back to life.

Barely a month after its release, we finally get the chance to talk about Star Wars Episode VII: The Force Awakens, and answer the most pressing question: great Star Wars movie, or greatest Star Wars movie?

The 49-year-old director of the highest-grossing movie of all time reacts to the film’s tremendous reception ("I’m incredibly grateful") and responds to its critics ("I can understand that someone might say, ‘Oh, it’s a complete rip-off!’ ").